Masa turns folded brown forms into a collective landscape where volume, scale and inhabited abstraction converge.

Masa (2021) develops a sculptural syntax of collective volume through a constellation of folded brown forms that oscillate between architecture, landscape and portable monument. Arranged as a clustered field of angular masses, these paper-like structures evoke towers, shelters, geological protrusions and provisional urban fragments, while their shared chromatic restraint consolidates the ensemble into a single topographic body. The insertion of a miniature human figure is decisive: scale becomes relational, transforming abstraction into inhabitable proposition and converting the sculptural group into an imagined civic terrain. Here, Lloveras mobilises mass not as weight alone but as social condition—an aggregate logic in which each unit retains formal autonomy while contributing to a broader spatial ecology. As a case study in socioplastic composition, Masa demonstrates how modest materials and elementary folds may generate a complex grammar of collective presence, where the city is reduced to volume and volume to an affective model of coexistence. Neither maquette nor ruin, the work occupies an unstable threshold between prototype and fiction, suggesting that architecture begins not with construction but with the distribution of bodies, densities and silhouettes in shared space. Lloveras, A. (2021) ‘MASA’, Socioplastics, 19 December. Available at: https://antolloveras.blogspot.com/2021/12/masa.html (Accessed: 26 April 2026). 

MEAT Series * An Overview

Between 2010 and 2025, the MEAT series—formally titled MEAT — Unstable Installation Series—developed as a sustained ritual of urban subtraction, where Spanish artist and architect Anto Lloveras enacted over 948 spatial interventions across cities in Europe and Africa, transforming everyday street objects into socioplastic residues. Far from literal flesh, the term “meat” signals the vulnerable body of the city, its overlooked organs: benches, fixtures, rails, and signs sliced with surgical precision, revealing internal structures and relational tensions. Each cut, documented and archived, becomes part of a dispersed network of situational fixers, often left in situ as ephemeral wounds that demand attention and reflection. Emerging from the LAPIEZA Relational Art Series and interwoven with Taxidermy and Broth, the MEAT project reframes the city as both subject and medium, where minimal gestures produce maximal shifts in perception. As a mobile sculptural practice, it rejects monumentalism in favour of repetition, absence, and precarity—cutting to expose not only physical layers but also the systemic logics of control, abandonment, and repair. Rooted in Lloveras’s concept of socioplastics, MEAT fuses performance, architecture, and urbanism into an evolving public archive, one where materiality is unstable, memory is embedded, and art becomes a critical protocol for reading and altering space. In doing so, it challenges normative exhibitions and proposes an alternative cartography of the city—built not through construction but through subtraction as care, an act that dissolves authorship and invites participation through encounter.  (Lloveras, A. 2010 2026)   https://antolloveras.blogspot.com/2014/09/meat-series-2014-madrid-marsella-berlin.html